The Five Deadly Venoms of Writing

NARRATIVE
I first realized that The Wizard of Oz was the template for all movies ever made while watching The Matrix. Once Cypher said, "buckle your seatbelt, Dorothy, cuz Kansas is going bye-bye," I began to pay attention to all the other signs. I watched the film with more attention than I had ever paid to the movies, and it made it all the more enjoyable. In fact, after my epiphany, I couldn't wait to go to the movies, to test my theory. I even enjoyed movies that were flat out terrible, simply because I had my theory to rely on. Boat Trip, an almost film that stunk up ther theatres it played in, was quite watchable when I sat with my popcorn and watched for any signs of Dorothy, the Scarecrow, the tinman and the Lion.

DESCRIPTION
How do you identify Dorothy? Dorothy is your typical Midwestern homogenized American. Usually brunette with beautiful brown eyes to match, Dorothy is attractive in an organic, home grown way. Her earthiness and simple charm is pleasing to the eye. There may be some whine in her voice, but that whine is drawn out through adversity. Normally, the voice is rather pleasant, distinctive and unique, with a singsong quality. Most people attractied to Dorothy won't be able to describe why; there's probably some animal magnetism involved. And yet, Dorothy is not overtly sexy; it is all hidden, and that adds to the entire package.

PROCESS ANALYSIS
One easy way to identify a Ozian influence is to look for quotes taken from the original. Granted, the quote may not be direct; some translation is usually involved. Other times, it is blatantly obvious.The quote "I have a bad feeling about this" is really a variation on "I have a feeling we're not in Kansas anymore."

ILLUSTRATION
SOme actors only know how to be one type of character. Take Brad Pitt, for example. Brad only knows how to be the Lion. The characters he plays in all of his films are unstable, androgynous, and superficial, with a flair for the dramtic. They are often quite insane. Examine his movies: Se7en, Twelve Monkeys, Troy, Ocean's Eleven, Joe Black, and Fight Club. If I were king of the forest, indeed.

COMPARISON
Casablanca is considered one of the best films ever made, it is merely a pale imitation of The Wizard of Oz. Sounds cruel? Consider Ilsa, who is a displaced Dorothy. She woos the emotionally crippled Rick, our resident tinman, and then breaks his heart - again. Victor Laslo is a Scarecrow, a bizarre animated creature who resists death, and who Ilsa misses so much she takes him with her.

 The Yellow Flick Road


By Antonio Jacobs
July 2, 2004

Since its MGM release in 1939, The Wizard of Oz has captivated the attention of children and adults alike. Songs like ìSomewhere Over the Rainbowî and ìWeíre Off to See the Wizardî are as prevalent as nursery rhymes. Quotes from the classic film pop up in everyday conversation, as well as in movies, books, magazines and newspaper articles.

And yet, are we really aware of the phenomenal impact The Wizard of Oz has had on American culture? When L. Frank Baum first completed The Wonderful Wizard of Oz in 1900, his mission was to create the great American myth. With a life and energy of its own, The Wizard of Oz has outgrown its creatorís original lofty goal to become the template of every American film made since. By providing a landscape and mold for character design in Dorothy and her Ozian companions, Baum unwittingly influenced all cinema in the twentieth century.

Big claim. But one only has to watch The Matrix to see that not only has moviemaking been influenced by The Wizard of Oz, the film industry has been unable to break from that influence. Every Oscar-winning film, every blockbuster, every drama, comedy, action/adventure, musical and horror film is based on The Wizard of Oz. Every director, every actor, every cinematographer, and costume designer has a little Oz in them.

The evidence of this influence is rampant. From the obvious (ìBuckle your seat, Dorothy, ëcuz Kansas is going bye-byeî from The Matrix) to the sublime (ìMay the Force be with youî from Star Wars) to the obscure (Buddy Epsen in Breakfast at Tiffanyís) to the bleak (Stanley Kubrick eliminated Dorothy from all his pictures), Baum, if alive today, would look back upon his creation with pride and be justified in declaring like Ozymandias, ìlook upon my mighty works and despair!î

Further writings on this subject include essays on the soundness of the Yellow Flick Theory, movie reviews (comparing recent releases and classics to The Wizard of Oz), articles on prominent actors (Is Bruce Willis a Tinman or a Lion?), and five things youíll find in any movie that ties directly to The Wizard of Oz.

WHAT IS THE YELLOW FLICK ROAD?

Simply put, The Wizard of Oz is the template for every film ever made. No matter the movie, I can prove that it is based on the MGM classic.

How do I do this?

Well, one thing to look out for when watching any film is to find the Oz characters. Who is Dorothy? Not always the main character, Dorothy is almost always the strongest character. An actress such as Sally Field, is a prime candidate for Dorothy, having tackled powerful roles in Norma Rae and Steel Magnolias. Who is the Scarecrow? The smartest or dumbest character is applicable. Russell Crowe's Professor John Nash in A Beautiful Mind is a prime example of this, although there is some evidence to suggest that Nash is Dorothy, who has the ability to bring imaginary characters to life. Who is the Tin Man? Must we look any further than Arnold Swartzenegger? Who is the Lion? Take Mel Gibson, who gravitates to roles that involve insane acts of courage and mental instability. Mad Max and Martin Riggs (of the Lethal Weapon series) are prime examples of this.

Now that you know what to look for, you can put this theory into practice. Who is the Wicked Witch? Who is the Wizard? Who is the good Witch of the North, et al. I can assure you, you can make even the worst movie into an enjoyable viewing by superimposing The World of Oz onto it. So the next time you're sitting through a stinker, try looking for Dorothy.

THE YELLOW FLICK ROAD IN PROSPECTUS

Skipping merrily down a road made of flicks is Arnold Schwarzenegger as The Terminator, Julie Andrews as Maria von Trapp from The Sound of Music, Dustin Hoffman from Rain Man, and Chewbacca from Star Wars. Can you match each character with their Ozian counterpart? Itís obvious, really. It is a testament to the tremendous influence of The Wizard of Oz, one of the finest, and enjoyable movies ever made. The MGM classic has paved the way for this ultimate testimonial; all one needs to create a great film is a brain, a heart, some courage and the means to go home.

I think the magnetic draw of the Yellow Flick Road is in its mission ñ ìall films are based on The Wizard of Oz.î That statement alone breeds further discussion, interest and at the worse, controversy. It is this quality that gives this theory life, and to an extent, sentience. The advantage to a publisher who invests in an endeavor like this is in its myriad of thematic possibilities.

For the popular audience, the Yellow Flick Road is presented as a way to combat cynicism when scrutinizing the latest blockbuster, tearjerker or action/adventure. Many audience members have an attitude of ìitís all been done before.î Why not capitalize on that? Not only does The Wizard of Oz provide an ideal template for comparison, it is a film that raises the bar on all areas of quality control, from special effects to human rights.

As a result, The Yellow Flick Road presents with a built-in following; that of the film buff, who will enjoy proving (or debunking) the theory. Its pop psychology appeal will attract the same groups who watch Mystery Science Theatre 3000 on one end to folks who enjoy Oprah or Dr. Phil on the other end. Hardcore analysts of Oz, such as Michael Patrick Hearn or Mark Evan Swartz have little to fear from this contribution, due to its light touch and accessibility.

The Yellow Flick Road, like The Wizard of Oz, has a life of its own. As Baumís initial story spawned a dozen films and scores of literary adventures, so does the Yellow Flick theory extend to include movie reviews, analysis, character development, celebrity profiles and comparative writings. From The Piano to The Pianist, from Birth of A Nation to Death of a Salesman; as long as there are movies, the theory is inexhaustible.

Of course, the theory all begins with a rulebook or play book to provide structure, while leaving enough room for individual interpretation. I expect the book to be 150-250 pages in length, including sample movie reviews and a couple of personality profiles of Hollywoodís biggest and brightest stars. With adequate support and research, a solid draft is attainable in six months.

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About the author: Antonio has written essays for the New York City Writing Project, and is a talented artist, songwriter and composer. Obviously, Antonio is a movie buff, and will watch anything. Currently, he is writing movie reviews for every film ever made.

Antonio Jacobs received his Masters of Music from Northwestern University. In 1999, Antonio developed a theory concerning the cinema, and his been obsessed about it ever since. His book, The Yellow Flick Road, is currently in development. Visit THE YELLOW FLICK ROAD to learn more or email: blacklieder@netscape.net

 WELCOME TO THE YELLOW FLICK ROAD
The Wizard of Oz is a template for all movies, especially musicals, dramas, comedies, action movies and ensemble movies.
We’re Off to See The Wizard
The Wizard of Oz is a wonderful story filled with adventure, intrigue, horror, and suspense. It stars Judy Garland as Dorothy, Margaret Hamilton as the Wicked Witch of the West, Burt Lehr as the Cowardly Lion, and Ray Bolger as the Scarecrow, Jack Haley as the Tinman, Billie Burke as Glinda, and Frank Morgan as the Wizard. The book was originally written in 1899 and published in 1900 by L. Frank Baum, a Renaissance man, who attempted a great many careers during his lifetime, such as Newspaper Editor, Children's book author, and Showman. Baum was also a staunch feminist, and his views and opinions are evident in The Wizard of Oz. By making the protagonist a young girl, Baum creates an American mythology. Lewis Carroll is credited for the invention of la femme fatale in Alice from the classic Through the Looking Glass, but it is Baum who perfects the archetype. The other characters are not nearly as strong, and the male characters are somewhat passive and incomplete. Both the hero and the villain of The Wizard of Oz are female. Even the title character is emasculated by the end of the story, admitting his weaknesses and relinquishing control of his realm to Dorothy and her allies.
Baum's children's tale became one of the most popular books of the 20th century, and was adapted by Baum himself to the silver screen, at least three times before his death in 1914??? Two major motion pictures titled "The Wizard of Oz" were made before MGM acquired the rights and produced the version the world is familiar with. Sidney Lumet directed an all-black cast in The Wiz, starring Diana Ross and Michael Jackson. A darker sequel starring Fairuza Balk called Return to Oz received little critical acclaim. The Muppets have also created their own adaptation.
There’s No Place Like Home
Dorothy comes from that Through the Looking Glass and Chronicles of Narnia tradition, made popular by Lewis Carroll and C.S. Lewis. Dorothy portrays the anti-hero, someone thrown into a situation they would prefer not to be in, but has to deal with anyway. Her persistant theme throughout the movie is a constant - she wants to go home.
We can relate to Dorothy because she wants the same things we all want - to be respected, to be listened to, and, most of all, to be loved. Dorothy suffers like all of us - she gets disorientated, she gets hungry, she gets sleepy, she gets angry, and she gets frightened. Dorothy is very human in a seemingly unhuman world, and her humanity stands out against the surreal landscape.
If I Only Had A Brain
The Scarecrow represents the idiot/savant, that part of all of us that is highly skilled, but too stupid to know it. It is the Scarecrow who emerges as the leader, the strategist, the techie or computer nerd that more than often saves the day with some sort of gizmo or hair-brained stunt. Every action hero should have a little scarecrow in them. In many ways, the Scarecrow is the narrator, a voice that guides the action, the same way the Scarecrow first guides Dorothy down the Yellow Brick Road. He speaks first, acts first, thinks and plans first.
The Scarecrow also represents our vunerability, usually emotionally. He can be torn apart easily; however, with help he can be put back together again. He can be burned, which is possibly his most dreadful disadvantage. Of course, with the Scarecrow aflame, it gives Dorothy the opportunity to put out his fire and destroy the wicked witch simultaneously.
I’ll Be Back
The Tin Man represents the indestructible bodyguard. He is the hired help, the muscle. It is the Tin Man who protects the others from harm. It is the Tin Man who is the most technical fighter, and unlike the Scarecrow, he can take a lot of damage without even feeling it.
He is often misconstrued as being heartless, emotionless and unfeeling, but nothing is further from the truth. His metallic exterior hides a deeply emotional being, which can be paralyzed by what he feels. So the Tin Man is automatically indebted to the other protagonists because they can psychologically rejuvenate him with his “oilcan”.
Essentially, he has no choice but to help them in their quest, whatever it may be.
Not a Duke, or a Queen, or a Prince (well, actually...)
The Cowardly Lion is our resident psychotic. He is unpredictable, exhibits abnormal, sometimes deviant behavior, and usually does not give a good first impression. It is clear that during their first meeting, Dorothy does not take a liking to the Lion like she does to the other two protagonists. Personality clashes always make for interesting character development.
He is not a coward, as his actions may suggest. Rather, the Cowardly Lion is confused and frightened by his awesome abilities, and it is this fear of not knowing his limits that paralyzes him in combative situations. He learns to overcome this only through self-motivation. In this way, the Lion is the character who is least needy, and ironically, able to take care of himself. The Lion may also be responsible for protecting the lives of others, and his fear of failing in this duty may goad him into inaction. Once he is forced to act, however, he acts with determination and skill.
Unfortunately, this same fear and confusion can lead the Lion to betray his fellow protagonists, especially if he has not developed that necessary bond with Dorothy or at least one other character. Without a stable personality working with the Lion, his actions will become dangerous to himself and others.
Ease On Down the Road
These elements combine to create the human condition, and since 75% of our hero unit is not human, we find it is easier to see their desires; through this simplicity lies the road for complexity.
Dorothy represents the spirit or soul, that inner essence that makes up all people. Without Dorothy, the world of Oz is a soulless environment. Dorothy represents the SOUL.
Scarecrow represents the Superego. He is analytical, calculating. He contains memories, theories and postulates. Scarecrow represents the MIND.
Tinman represents the Ego. He is moral right, law enforcement, abiding by an honorable code. Tinman represents the HEART.
Lion represents the Id. He is all impulse and action, never considering the consequences. He is indulgent and impetuous. Lion represents the FLESH.
I CAN’T STOP IT; I DON’T KNOW HOW IT WORKS!
The Yellow Flick Road is an opportunity to see how it all comes together. It’s an undeniable phenomenon; every movie you see will be connected to The Wizard of Oz by genre, reference or character archtype, by environment or special effect. How did this happen? Who knows? How is it possible for a film released in 1939 to be the basis of the silent film industry twenty years before. Don’t know; it is what it is. The following chapters provide an in-depth look at how the theory works, and to recognize the tell-tale signs of Ozian influence. Get in the balloon and take a ride….

 Introduction


Scoff if you must. Do whatever it takes to reconcile yourself to the idea. Take as much time as you like, but the story remains the same. Not only is The Wizard of Oz the greatest movie of all time, it is also the template for every film ever made. No matter what movie you pick, I can prove without a shadow of doubt that it is based on The Wizard of Oz.

How did this begin? I first began to develop my Wizard of Oz theory after seeing The Matrix, possibly one of the best movies ever made. The thought that one person had the capacity to reshape reality intrigued me; I wanted to investigate how many times and how many ways this had been done in the movies. Being a movie fan, but not necessarily a movie buff, I began to watch movies in a different way. I first looked for the connections, the parallels, and any indicator that would tell me how the film I was watching was related to The Wizard of Oz. Who was Dorothy? Where was Emerald City? Where did the Yellow Brick Road go? At first, it was a hobby and a conversation starter; I made a lot of mistakes along the way, and placed my foot in my mouth a number of times. But the more I looked at it, the more I was convinced I had something. So I did some research and learned a little more about L. Frank Baum, the author of The Wonderful Wizard of Oz. I read books about mise en scene and other film theories. I started watching movies. All the time. Call it an obsession, but now I can watch the worse movie ever made and get some truth out of it.

Experts, film critics and the film community are bound to see the flaws in the theory, but this theory is not for them. What I offer is a way for moviegoers to enjoy going to the movies again without cynicism, the disappointment and unrealistic expectations consumers have developed in recent years. I suggest greater care in the making of films is needed, but we must also be reminded that film and reality are not the same thing. So focusing on a film that provides us a taste of reality and fantasy, at a 10/90 ratio (that’s 10% reality, 90% fantasy) such as The Wizard of Oz is valuable as a way of cleansing the palate. Going to the movies used to be fun, an escape from the day-to-day doldrums of stressful life. So my challenge is this: if you can look at a movie without finding elements of The Wizard of Oz, then I haven’t done my job. I’m not claiming that my theory is the end all and be all; it is merely another way to enjoy the moviegoing process. This is to ensure that our childlike sense of wonder remains intact.

Why is the Yellow Flick Road valuable? I believe the movie industry has a lot of potential, and I believe the quality of movies can be improved upon, and by getting audiences to pay attention to the details a bit more, perhaps the average moviegoer will begin to demand more value for their buck.

Antonio Jacobs
March 2003

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